C 7

"Luke, this is Robin Grande."

In the conference room of Lucasfilm, George Lucas introduced a middle-aged man to Luke. "Robin is the production manager hired by Lucasfilm for Speed."

"Hello, Luke."

Robin stood up first and stretched out his hand. "I've seen the video you edited—impressive."

"Nice to meet you, Robin."

Luke stood up, shaking hands with him across the long conference table. "I believe this will be a pleasant collaboration."

As an established production company, Lucasfilm had officially begun preparations for Speed within just over a week of notifying Luke to attend the first meeting. Several key crew positions had already been filled, showing the confidence of the Hollywood giant. As the future spokesperson for producer George Lucas on the crew, Robin Grande clearly wielded significant influence. Since Luke had not yet signed a formal directing contract with Lucasfilm, his focus was on securing the right terms for his role.

"Your director's salary is $120,000," Robin said, watching Luke's reaction. Seeing no objections, he continued, "We'll pay you $50,000 upfront, another $50,000 upon completion of filming, and the final $20,000 once the film is released in North America."

Luke knew this was standard practice in Hollywood. "I have no issue with that."

Robin then discussed the director's powers and obligations. Based on Luke's requests, he would participate in crew preparation and many aspects of the film's production. However, like most first-time directors, Luke would have input but not the final say. He also had the right to suggest casting choices but not make the final decisions.

"I hope you'll carefully consider my actor suggestions." Luke was prepared to advocate for his choices within reason. "I also request to participate in post-production editing and to have my suggestions considered in the final cut."

Editing can make or break a film. While Luke knew he wouldn't get final cut rights, he hoped to shape the film as much as possible during the editing process.

These requests went beyond Robin's authority, so he turned to George Lucas, who was sitting at the head of the table.

"As long as your suggestions are reasonable," George said, not showing any resistance.

Luke breathed a sigh of relief. For a first-time director, having these rights was rare. In Hollywood, many directors are excluded from the editing process entirely.

"One more thing," Luke ventured when the meeting was wrapping up. "George, could I convert my initial $100,000 salary into production costs for the film—"

"—and take a proportional share of the film's revenue?" George interrupted, tilting his head.

Realizing he might be overreaching, Luke waved his hands awkwardly and backed down.

What he didn't expect, though, was that later, when he signed the formal directing contract with Lucasfilm—accompanied by his mother's lawyer—this clause was included in the additional terms. Of course, any potential earnings would be allocated after various fees, such as theater and distribution costs, were deducted.

After signing his name on the two-part contract, Luke felt an odd sensation. Had he gained more control than he realized? But that's a good thing, isn't it?

As producer, George Lucas would oversee the project's overall direction, but specific matters were left to the production team, headed by Robin Grande. Robin would be Luke's primary point of contact for the preparation, shooting, and production phases of the film.

"The budget is set at $15 million, with $10 million already secured," Robin said as they walked out of the conference room. It was clear that George Lucas had instructed Robin to guide Luke through the process. "The remaining $5 million will be raised by Lucasfilm soon. We'll set up the studio in West Hollywood near Santa Monica, where most of the filming will take place."

"Does the studio have a name yet?" Luke asked.

"Not yet," Robin replied with a shrug.

"How about Speed?" Luke suggested.

"Not bad," Robin said, nodding.

As they parted ways in the parking lot, Luke reflected on his new role. He had already quit his temp job and would now report to the Speed studio every day, learning the ropes of the Hollywood production machine.

The studio system is a Hollywood tradition. Whenever a high-budget film project is greenlit, a production company sets up a dedicated studio to coordinate funding, crew preparation, shooting, marketing, sponsorships, and merchandise. Some studios can last for years, handling the pre-production and post-production stages, which are often more complex than the actual filming.

Thanks to Lucasfilm's influence in the industry, contracts were swiftly signed for photography, set design, lighting, makeup, costumes, and art direction. Many of the crew had worked with Lucasfilm before, including Industrial Light and Magic for special effects and Skywalker Sound for the soundtrack.

Luke was involved in every step of the process, from camera work to actor choices, inspecting sets, clarifying post-editing ideas, and coordinating with Skywalker Sound for the film's audio. However, the heavy lifting was handled by the professionals—Hollywood's assembly-line system was highly collaborative and specialized.

In the next month, Luke completed most of his storyboard sketches, though the film's preparation was only halfway done. According to Robin, shooting wouldn't begin before mid-September.

"We'll need at least five major explosion scenes," Luke said in a crew meeting. "The two explosions in the opening scene and the bus collision with the plane can be done with models on set, but the street and house explosions should be filmed on location to save costs."

"Luke," one of Robin's assistants said, "we've already secured approval for the street explosion."

"We're scouting a house for the shoot," another added. "We've been searching City Hall records for houses marked for demolition in the greater Los Angeles area."

"Model production is underway," the head of Industrial Light and Magic assured Luke. "It won't delay the schedule."

The meeting atmosphere seemed professional, but Luke knew he hadn't won everyone over. Most of the crew were Hollywood veterans, and though George Lucas supported him, some still harbored doubts. However, Luke didn't dwell on their thoughts. As long as they maintained a functional working relationship, he was satisfied. What he needed most was a successful project.

In Hollywood, one success can change everything. If Speed succeeded, Luke would no longer be a newcomer begging for work. He'd have the credibility to assemble his own production team, reducing the internal friction that plagued many film crews.

During the meeting, discussions also turned to special effects, with Robin gradually taking control of the conversation, given his authority.

As preparations for the film neared completion, casting the lead roles became the next major focus. Once most of the crew left the temporary office, only Luke, two assistant directors, and a few producers, including Robin, remained.

"I suggest casting Keanu Reeves as the lead," Luke began. "While he may not be a top-tier actor, his acting is good enough for this character, and he's got some name recognition. Plus, his fee is affordable."

"I've seen his movies and met him in person," said Kane, the first assistant director with nearly a decade of experience. "But Keanu Reeves is too thin! Don't forget, this is an action film. We need someone with muscle."

Luke didn't rush to argue. This wasn't the first time Kane had opposed him.

"Here's what we'll do: let's include Keanu Reeves in the audition and send an invitation to his agent," Robin said. "Over the next two weeks, we'll focus on casting the male and female leads, as well as the key supporting roles."